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Andrew Daly MA by Research Thesis Editorial Clean University of Huddersfield Repository Daly, Andrew A Compositional Investigation into Style and Genre Fusion Utilising Popular Electronic and Alternative Rock Music Original Citation Daly, Andrew (2017) A Compositional Investigation into Style and Genre Fusion Utilising Popular Electronic and Alternative Rock Music. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34427/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ A COMPOSITIONAL INVESTIGATION INTO STYLE AND GENRE FUSION UTILISING POPULAR ELECTRONIC AND ALTERNATIVE ROCK MUSIC ANDREW DALY A thesis and portfolio submitted to the University of Huddersfield in partial fulfillment of the requirements for the degree of Master of Arts by Research for Music The University of Huddersfield March 2017 1. Introduction 3 2. Methodology 7 3. Drum ‘n’ Bass 9 3.1 Features 9 3.2 Word Cloud 11 3.3 Analysis of Timeless and Feel the Love 12 3.4 Blue in Grey and Electric Priest 12 4. Alternative Rock 15 4.1 Features 15 4.2 Word Cloud 17 4.3 Analysis of Stockholm Syndrome 18 4.4 Pray Charge Your Glasses 18 5. Fusion Compositions 20 5.1 Table of Elements 21 5.2 Thistles 22 5.3 Minotaur 23 5.4 Last Exchange 24 6. Discussion 25 7. Conclusion 27 8. Lyrics 29 8.1 Pray Charge Your Glasses 29 8.2 Thistles 29 8.3 Last Exchange 30 9. Bibliography 31 10. Discography 33 11. Copyright statement 33 Portfolio Tracks (On accompanying USB) 1. Blue in Grey (Drum ‘n’ Bass experiment 1) 2. Electric Priest (Drum ‘n’ Bass experiment 2) 3. Pray Charge Your Glasses (Alternative Rock experiment) 4. Thistles (Fusion 1) 5. Minotaur (Fusion 2) 6. Last Exchange (Fusion 3) Word Count: 10900 2 A Compositional Investigation into Style and Genre Fusion Utilising Popular Electronic and Alternative Rock Music 1. Introduction The purpose of this study is to find out the limitations of style and genre fusion. It asks how effectively can a composer achieve this? This thesis explores the restrictions of the ideas of style and genre fusion by examining if one genre will overpower the other in terms of its sonic signature and social ideals or if a balanced fusion can be achieved? Another question of interest, is how far apart can two fusions by the same composer of the same two genres stylistically be from one another? The study consists of a portfolio of compositions that explore the subject and this accompanying thesis will discuss the research that informed them as well as some discussion of the compositions themselves. This study will explore the genres of drum ‘n’ bass and alternative rock. These are the genres I spent most of my adolescence listening to, and in the case of alternative rock, playing in bands. Once literate with digital audio workstations (DAW) in my late teenage years, I began to dissect and attempt to recreate the sounds and ideals of drum ‘n’ bass, ushering in a new style of composition for myself. I began utilising the harmonic language, form elements and some instrumentation from alternative rock and the production ideals, rhythm elements and sound design from drum ‘n’ bass to create my new sonic signature. It is this reason that I have chosen these two genres as the basis for this investigation. Previous compositions of mine such as Silicon Memoirs (Daly, 2015) have explored issues of style and genre. The musical elements that make up that album come from a variety of influences across many genres and styles, and it is this cross pollination of musical style in not just my own, but all music that I find intriguing. Artists will have a certain sonic signature drawn from a variety of influences, both musical and non musical, but may not necessarily conform to all of the ‘rules’ of a genre; yet will be labelled as for example a dubstep artist or a folk artist for ease of recognition and resale in the age of commercialisation of music. While some artists do indeed present a public image that supports their genre classification, such as Daft Punk with their robotic front that inherently suits their role in electronic dance music culture, some artists do recognise that an ambiguity of genre for them is indeed their identity and thus their marketing strategy. Though not an exclusive act in this idea of genre fusion, Gorillaz are one of the more prominent artists of recent times to employ such tactics. I analysed a video essay entitled Gorillaz – Deconstructing Genre (kaptainkristian, 2016) and it shows us that artists need not constrain themselves to particular traits musically and socially just to fit into a box of assigned facets for a genre. Gorillaz are able to do just that by presenting a false front of the band to the public, an animated quartet of individuals who in reality do not make the music, but rather embody it. The animated nature of the band allows the masterminds behind the scenes to work without constraints of human image and can constantly evolve the caricature they have created, unbound by style or genre. 3 Dissecting the influences and traits of music is an intriguing but complicated matter and also one that raises certain questions. With this in mind, I ask the question of how a genre is defined and if a musical entity takes elements from more than one genre and fuses them, are they creating a new genre? Genre definition is an issue that has been tackled in the past and this study will borrow heavily from Franco Fabbri’s definitions of how genre classification works. Firstly we must draw out the differences between genre and style. There are varying opinions on how these two terms are defined: - ‘In most musicological literature which has tackled the problem of genres, from positivists to very recent examples, the formal and technical rules seem to be the only ones taken into consideration, to the point where genre, style and form become synonymous.’ (Fabbri, 1981) There are, however, a few pieces of literature dedicated to drawing out the differences with varying opinions on the matter. Fabbri (1981) then goes on to state that a genre consists of ‘a set of musical events (real or possible) whose course is governed by a definite set of socially accepted rules’. This is something that is also discussed by Tagg (2011) and implies that musicological factors alone, what we have come to understand as style, cannot define a genre in its entirety without some sociological factors. Fabbri states that these rules will fit into one or more of five categories, which I have in turn placed into two sections, musicological and non-musicological. I define the musicological rules as those that apply directly to the musical content, but may yet be influenced by non-musicological content. They consist of two of the five categories. The first is formal and technical rules. These rules consist principally of some kind of written or oral code/tradition in the way a musical element must be treated within the architecture of the genre. An example might be how the same instrument would be played in different manners within two different genres, such as a trumpeter in a jazz band versus one who plays in an orchestra. The mechanics of playing are the same but the manner and performance techniques are different. This also covers the formats of how the music is transferred and taught, for example manuscript, tablature or oral tradition. The second category is semiotic rules. Normally I would define these as the iconic, symbolic and indexical relationships (Tagg, 2011) between the musical events and the space they are played in. This is contentious though as Fabbri (1981) explains: - “Of course all the rules of genre are semiotic, since they are codes which create a relation between the expression of a musical event and its content.” Naturally this doesn’t help us classify, so this set of rules will be narrowed down from all aspects to just those of the musical event, including text, and the resulting emotional value that is instilled. The issue with generalizing this way is that there are indeed many other factors outside of this affecting the communicative state of the musical events. These include how the musical event is listened to and its social environments. Accepting all aspects that affect the communicative features of a musical event as 4 semiotic does not help us to classify non-musicological events, thus they will be treated separately. We will therefore be accepting the musical event’s referential, emotional, imperative, phatic, metalinguistic, narrative and poetic values as semiotic. Non-musicological rules are those that do not apply directly to the musical content, yet may still be influenced by it. These consist of the three remaining categories. Behaviour rules are essentially the measurable reaction of all parties involved.
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